Shedding many of those trappings that make a James Bond movie well a James Bond movie Quantum of Solace is really the first sequel ever in the long-running series. While it’s always exciting something gets seriously shaken and stirred in the translation. Picking up exactly where the brilliant Casino Royale left off we see Bond (Daniel Craig) trying to get to the bottom of why his love Vesper Lynd had to die jumping right into the first of many MANY chases as he traverses six countries. Still on rogue patrol Bond then inadvertently meets the crafty and gorgeous Camille (Olga Kurylenko) who introduces Bond to the evil Dominic Green (Mathieu Amalric) the head of an eco-phony stealth operation angling for some prime desert land while financing a crooked Bolivian general’s planned coup. With the ever resourceful M (Judi Dench) trying to keep him in line at all times Bond must put his revenge plans on hold as he crosses paths not only with Greene and his fake pro-environment front but also the intriguing and mysterious group known as Quantum. In this outing Daniel Craig -- leaner and meaner than any previous Bond -- really becomes a man of single-minded determination and grit. He’s less like the James Bond we know and love and more a humorless killing machine like Jason Bourne (those two should really get together). Still Craig is such a compelling actor that we are with him all the way even if he doesn’t go for the suave Bond moves. Olga Kurylenko is a great foil but not totally in the tradition of a Bond girl. A later encounter with Gemma Arterton as a British agent in Bolivia does however briefly recall the heyday of Goldfinger. Judi Dench has taken the perfunctory role of M and turned it into a full-blown supporting role. Her dry wit and take-no-prisoners attitude is welcomed every time she shows up on screen. French star Mathieu Amalric (The Diving Bell and the Butterfly) doesn’t really pull off his villainous alter-ego ecologist while Jeffrey Wright is pretty much wasted as U.S. agent Felix Leiter. At least Giancarlo Giannini returns for some nice moments with his Craig. Although they usually leave the challenging job of steering the Bond ship to an English director oddly this time the baton was handed to Marc Forster known more for his intimate dramas such as Finding Neverland and Monster's Ball. His grip on the action sequences is secure but he never really seems to have a handle on what distinguishes this legendary movie spy from everyone else. There’s a reason Bond has survived as a screen icon for almost half a century but the sort of workman-like filmmaking Forster displays here does not represent 007’s finest hour. It’s almost like the producers had a checklist: car chase on winding roads; boat chase; airplane chase; rooftop chase -- all check. Quantum of Solace is definitely worth checking out however. I mean it IS Bond and we wait for these movies on bated breath. Just maybe next time a little less Bourne please.
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.